o 


OMES 


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ARTISTIC  INTERIORS 

FOR  HOMES 


NATIONAL  LEAD  COMPANY 

NEW  YORK,  BOSTON,  BUFFALO,  C  HICAGO,  CINCINNATI,  CLEVELAND 
PHILADELPHIA,  PITTSBURGH,  ST.  LOUIS 


COPYRIGHT,  1909,  BY  O.  C.  HARN 


PRACTICAL  FOR  ALL  CONDITIONS. 


F  the  furniture  and  hangings  in  any  of  the  rooms  shown  in  this  book  should 
give  one  reader  the  impression  that  the  whole  scheme  is  too  elaborate  for 
his  simple  house,  or  should  impress  another  reader  that  the  scheme  is  not 
elaborate  enough  and  is  unworthy  his  more  sumptuous  mansion,  let  each 
observe  that  color  harmonies  remain  constant,  whether  the  furnishing  materials  be 
expensive  or  modest.  Four  walls,  a  ceiling  and  a  floor  are  elements  common  to 
every  room  and  are  the  essential  factors  to  be  dealt  with. 

The  color  harmonies  illustrated  in  this  booklet,  therefore,  are  suitable  for  the 
simplest  houses  modestly  furnished,  as  well  as  for  elaborate  homes  rich  in  expensive 
hangings,  oriental  rugs  and  art  furniture.  Not  only  are  the  color  harmonies  suggested 
suitable  for  both  high-priced  and  modest  dwellings,  but  paint  as  the  finish  for  walls 
and  woodwork  is  to  be  recommended  for  all  classes  of  houses.  There  are  certain 
rooms  where,  if  they  can  be  afforded,  expensive  woods  in  natural  finish  are  often  very 
desirable  for  the  trimming,  but  in  all  ordinary  cases  the  varied  and  harmonious  tints,  as 
well  as  the  beautiful  and  sanitary  finish,  obtainable  with  paint  are  most  desirable.  Also 
for  the  decoration  of  walls  and  ceilings  there  is  nothing  so  satisfactory  as  the  fine 
gradations  of  tints  obtainable  with  paint,  and  nothing  so  sanitary  as  that  material’s 
impervious  finish.  Paint  is  the  most  economical  in  the  long  run. 


4 


THE  IMPORTANCE  OF  COEOR  HARMONY. 


OLOR  plays  an  important  part  in  our  comfort,  happiness  and  health.  No 
room  is  successful  unless  harmony  of  color  has  been  taken  into  consideration. 
Many  otherwise  beautiful  houses  fail  because  conflicting  colors  have  been  se¬ 
lected  or  because  the  rooms  have  not  been  treated  in  relation  to  each  other. 
No  room  can  be  treated  independently  without  a  loss  to  the  general  harmony  of  the  house. 

Color  has  the  power  to  alter  the  apparent  proportions  of  a  room.  Red  contracts, 
blue  and  yellow  expand.  Green,  unless  very  dark,  has  little  effect  upon  the  room, 
keeping  the  walls,  as  decorators  say,  well  in  place.  ban,  gray,  blue  and  pink  have 
the  effect  of  adding  space,  while  brown,  unless  very  light,  has  the  same  quality  as  green. 

To  the  majority  of  people,  green  is  restful,  red  stimulating  and  blue  depressing; 
but  under  certain  conditions,  these  colors  may  have  quite  a  different  effect.  Blue  when 
combined  with  green  or  certain  tones  of  yellow  is  anything  but  depressing,  while  red, 
if  placed  in  a  dark  room,  will  so  absorb  the  light  as  to  make  a  room  positively  gloomy. 
Green  holds  its  own,  but  is  warm  or  cold  according  to  the  proportion  of  blue  or  yellow 
of  which  it  is  composed. 

Pure  yellow  is  the  most  sunshiny  color  in  existence  and  is  far  more  satisfactory  in 
a  north  room  than  red. 

After  the  color  for  a  room  has  been  decided  comes  the  question  of  treatment.  The 
beauty  of  a  plain  wall  needs  no  emphasis  Highly  figured  walls  are  fatiguing  and  the 
eye  soon  wearies  of  them.  In  rooms  where  there  are  pictures  and  bric-a-brac  a  figured 
wall  is  often  very  confusing.  It  is,  therefore,  with  relief  that  we  turn  to  the  restful, 
quiet  effect  of  plain  walls. 

The  value  of  a  painted  wall  from  a  sanitary  standpoint  is  well  known,  but  com- 


5 


PLATE  I.  LIVING-ROOM 


paratively  few  have  realized,  until  recently,  the  possibilities  of  the  painted  wall  Irom 
the  viewpoint  of  beauty.  The  following  illustrations,  representative  of  different 
types  of  rooms,  show  wall  effects  obtained  by  the  use  of  solid  tints  in  combination 
and  of  pure  white  lead  and  pure  linseed  oil  tinted  to  suit  various  requirements  and 
tastes. 

W  hile  it  must  not  be  thought  that  the  color  harmonies  suggested  in  these  pages 
are  entirely  unsuitable  for  figured  effects  in  the  wall  decorations,  it  will  be  seen  that  a 
variety  of  charming  schemes  can  be  obtained  by  the  use  of  plain  colors  and  that  on 
the  whole  they  are  more  desirable  in  a  home  than  figured  effects.  The  plain  colors 
contribute  the  restful  atmosphere  so  essential  in  our  homes,  particularly  in  these  days 
of  restless  activity.  Quiet  surroundings  tend  toward  the  simplifying  of  life. 

THE  COLORED  PLATES. 

Twenty  suggestions  for  the  proper  blending  of  color  in  the  decoration  of  various 
types  of  rooms  are  given  in  the  following  pages.  Ten  of  these  are  illustrated  in  color. 

P'or  your  painter’s  convenience,  painted  blocks  showing  the  tints  anti  shades 
referred  to  in  the  descriptions  have  been  placed  on  the  last  page  of  the  book  together 
with  the  reference  numbers  used  in  connection  with  them  in  describing  the  color 
schemes  in  the  book. 


PLATE  No.  i,  LIVING-ROOM. 

Suggestion  No.  i,  as  in  illustration:  walls,  solt  red  (No.  337);  ceiling,  ivory 
(No.  331);  trim,  light  Flemish  (No.  33S)  ;  tiles,  green;  curtains,  green;  rug,  red  pre¬ 
dominating. 

4 


7 


PLATE  II.  LIVING-ROOM 


Suggestion  No.  2:  walls,  light  orange  (No.  339);  ceiling,  ivory  (No.  331);  trim, 
deep  green  (No.  340);  curtains,  old  blue;  rug,  green  with  old  blue  and  orange  border. 

1 1  ere  we  have  in  our  first  suggestion,  a  decided  but  not  a  strong  red.  It  is 
chosen  to  blend  with  the  fine  oriental  rug  which  has  a  good  deal  of  the  solt  pinkish 
red  used  so  effectively  by  rug  makers  of  the  East.  This  red  is  particularly  effective 
with  Flemish  woodwork  or  with  all  stains  except  very  light  ones.  Green  harmonizes 
with  this  red,  and  green  will  be  found  in  the  tiles  and  curtains. 

A  more  radical  treatment  is  seen  in  suggestion  No.  2.  Orange  forms  the  walls, 
while  blue  and  green  are  used  in  the  harmony,  the  trim  being  green. 

PLATE  No.  2,  LIVING-ROOM. 

Suggestion  No.  1,  as  in  illustration:  walls,  medium  olive  (No.  312);  ceiling, 
slate  green  (No.  31  1);  trim,  olive  brown  (No.  332);  curtains,  Gobelin  blue;  uphol 
stery  and  rugs,  green  and  blue  with  a  dash  of  orange. 

Suggestion  No.  2  :  walls,  Gobelin  blue  (No.  333)  ;  ceiling,  old  ivory  (No.  325)  ; 
trim,  medium  olive  (No.  312);  curtains,  green;  upholstery,  rugs,  etc.,  blue  predomi¬ 
nating  with  olive  green  and  a  little  clear  yellow. 

In  our  first  suggestion  we  have  combined  green  and  blue,  two  colors  which  prop¬ 
erly  blended  give  very  good  results.  They  are  particularly  effective  in  a  room  of  the 
character  illustrated  which  is  not  a  formal  book  room,  but  used  as  a  general  living- 
room.  The  number  of  objects  in  this  room  makes  a  plain  wall  especially  effective.  If 
a  figured  paper  should  be  used  in  place  of  the  plain  wall,  most  of  the  charm  of  the 
room  would  vanish.  A  plain  effect  is  necessary  in  a  room  where  there  are  many  pic¬ 
tures  and  much  bric-a-brac. 


9 


PLATE  III.  BUNGALOW  LIVING-ROOM 


With  blue  and  green  a  third  color  used  sparingly  adds  to  the  harmony.  Orange 
is  the  complement  of  blue  and  thus  makes  a  harmony  of  contrast  with  blue  while  it 
forms  an  analogous  harmony  with  green  inasmuch  as  both  orange  anti  green  are  com¬ 
posed  in  part  of  the  same  color,  namely,  yellow. 

In  suesrestion  No.  2  the  walls  are  blue,  the  trim  is  green  and  the  rugs  are  mainly 
blue,  with  some  green  and  a  little  clear  yellow.  This  is  a  related  harmony,  not  a 
complementary  one,  inasmuch  as  green  is  formed  by  mixing  blue  and  yellow. 

PLATE  No.  3,  BUNGALOW  LIVING-ROOM. 

Suggestion  No.  i,  as  in  illustration:  walls  and  ceiling,  forest  green  (No.  326); 
trim,  dark  gray  (No.  330)  ;  rugs,  gray,  black  and  red. 

Suggestion  No.  2:  walls,  golden  brown  (No.  327);  ceiling,  light  chrome  yellow 
(No.  329);  trim,  deep  golden  brown  (No.  344);  rugs,  brown,  black  and  yellow. 

This  living-room  is  in  a  bungalow^  and  there  is  a  good  deal  of  wootbvork.  In  one 
suggestion  it  is  stained  a  greenish  gray  and  in  the  other  a  brown.  Navajo  rugs  are 
placed  on  the  floor  and  the  furniture  is  of  that  sturdy  simplicity  suitable  in  a  room  of 
this  character. 


PLATE  No.  4,  LIBRARY. 

Suggestion  No.  pas  in  illustration:  walls,  golden  brown  (No.  327);  ceiling, 
pale  yellow  (No.  328 );  trim,  forest  green  (No.  326);  curtains,  yellow. 

Suggestion  No.  2-  wralls,  medium  olive  (No.  312):  ceiling,  pearl  gray  (No. 
303)  ;  trim,  dark  gray  (No.  330);  curtains,  green  ;  upholstery,  gray,  green  and  a  little 
pure  orange. 


-iTif 


PLATE  IV.  LIBRARY 


Our  first  suueestion  calls  for  light  golden  brown  which  forms  an  excellent  back- 

o  o  o  o 

ground.  Brown  in  combination  with  a  green  trim  and  relieved  by  yellow  and  a  little 
old  blue  is  decidedly  pleasing  for  libraries  and  living-rooms. 

The  second  suggestion  is  based  on  a  more  unusual  combination  and  consistsofgreen, 
gray  andalittlepure  orange.  Gray  ischosen forthe  woodwork, the  wallsareolive, the  ceiling 
paler  gray,  while  a  strong  deep  note  is  given  by  a  littlepure  orange  in  rugs  and  upholstery. 

The  requirements  of  a  library  differ  from  those  of  a  hall.  Quiet  effects  are  best 
here,  providing  the  restful  atmosphere  so  essential  in  a  book  room.  Brilliant  color 
treatment  is  out  of  place  in  this  room  and  should  be  reserved  for  rooms  where  the 
limitations  are  less  defined.  This  does  not  mean  that  a  monotonous  effect  is  to  be 
desired.  Rugs,  curtains,  upholstery  provide  the  necessary  color  notes,  together  with 
book  bindings,  pictures,  etc. 

PLATE  No.  5,  DINING-ROOM. 

Suggestion  No.  i,  as  in  illustration:  walls,  trim  and  doors,  white;  hangings  and 
rugf,  Gobelin  blue;  fixtures,  uold. 

Suggestion  No.  2:  walls,  trim,  etc.,  light  gray  (No.  301);  hangings  and  rug,  old 
rose;  fixtures,  silver. 

This  dinimr-room  is  colonial  with  a  strong  Louis  XVI  feeling  in  the  over-mantel 

o  00 

and  over-doors. 

The  first  suggestion  is  to  use  white  walls,  white  trim,  a  rug  in  which  Gobelin  blue 
predominates,  plain  blue  hangings  at  the  windows  and  all  hardware  of  brass.  There 
is  a  good  deal  of  white  here,  but  the  ruddy  tones  of  the  old  mahogany  furniture  and 
the  mahogany  mantel,  together  with  the  rug  and  the  curtains,  prevent  any  feeling  of 


PLATE  V.  DINING-ROOM 


coldness.  Old  portraits  fit  well  into  this  background,  which  is  too  true  to  the  period 
to  permit  of  modern  pictures. 

In  the  second  suggestion  will  be  found  a  treatment  used  extensively  with 
Louis  XYI  woodwork  and  that  is  light  gray.  Instead  of  white  paint  light  gray  is 
used  and  in  the  place  of  blue  we  find  old  rose  predominating  in  the  rugs  and  curtains, 
while  all  hardware  is  of  silver  finish. 

PLATE  No.  6,  DINING-ROOM. 

Suggestion  No.  i,  as  in  illustration:  walls,  medium  olive  (No.  312);  ceiling, 
slate  green  (No.  31 1);  trim,  Venetian  red  (No.  322);  curtains,  green;  rugs,  green, 
red-brown  and  a  little  blue;  some  blue  in  upholstery;  old  blue  china. 

Suggestion  No.  2:  walls,  light  chrome  yellow  (No.  329);  ceiling,  ivory  (No. 
331);  trim,  forest  green  (No.  326);  curtains,  yellow-green  and  old  blue;  rug,  green 
and  blue. 

The  first  suggestion  is  a  decidedly  green  scheme,  but  it  is  an  olive  green  blending 
well  with  the  red  tones  of  the  woodwork  and  harmonizing  with  the  old  china  of  the 
mantel  and  plate  racks.  There  is  also  a  good  deal  of  old  brass  in  this  room  which  is 
effective  with  the  yellow-green  of  the  room. 

A  orood  deal  of  vellow  is  found  in  the  second  suofo-estion.  The  walls  are  chrome, 
the  trim  a  rich  green,  while  yellow,  green  and  blue  form  the  harmony. 

PLATE  No.  7,  BEDROOM. 

Suggestion  No.  i,  as  in  illustration:  walls,  light  blue  (No.  341);  ceiling,  pale 
blue  (No.  342);  trim,  soft  white;  curtains,  blue  and  white. 


PLATE  VI.  DINING-ROOM 


Suggestion  No.  2:  walls,  old  ivory  (No.  325);  ceiling-,  ivory  (No.  331);  trim, 
pale  apple  green  (No.  343);  rugs,  green,  ivory  and  old  rose;  curtains,  green  and  old 
rose  on  old  ivory  background. 

Our  first  suggestion  calls  for  a  blue  and  white  scheme  which  is  particularly  effec¬ 
tive  in  a  bedroom,  our  second  for  a  blending  ot  ivory,  apple  green  and  old  rose. 

PLATE  No.  8,  BEDROOM. 

Suggestion  No.  i,  as  in  illustration:  walls,  pale  pink  (No.  334);  ceiling,  white; 
trim,  white;  rug,  moss  green;  curtains,  green  and  pink  on  an  ivory  ground. 

Suggestion  No.  2:  walls,  pale  lavender  (No.  335);  ceiling,  white;  trim,  white; 
rug,  moss  green  ;  curtains,  lavender  and  green. 

Bedrooms  are  most  successful  when  they  are  simple,  and  both  our  suggestions 
are  removed  from  elaborate  effects.  With  plain  walls  figured  curtains  are  usually 
attractive  and  we  advise  cretonne  with  both  schemes.  A  figured  rug  could  be  used 
instead  of  a  plain  one  with  equally  satisfactory  results. 

PLATE  No.  9,  HALL. 

Suggestion  No.  i,  as  in  illustration:  walls,  yellow  (No.  307);  ceiling,  old  ivory 
(No.  325);  trim,  white;  mahogany  doors. 

Suggestion  No.  2  :  walls,  forest  green  (No.  326)  ;  ceilings,  yellow  (No.  307);  trim, 
white ;  mahogany  doors. 

In  this  hall  the  architectural  treatment  isdecidedlycolonial  and  thecolor  scheme  ofour 
first  suggestion  is  on  strictly  colonial  lines — yellow  walls  mahogany  doors;  white  paint 
and  mahogany  are  an  attractive  combination.  In  a  hall  where  the  light  is  insufficient,  it 


17 


PLATE  VII.  BEDROOM 


is  necessary  to  choose  a  light-producing-  color  and  in  this  connection  nothing  is  better 
than  yellow,  for  it  suggests  sunlight.  It  also  strikes  a  cheery  note  ot  welcome  especially 
suitable  for  a  hall.  Tints  are  also  good,  but  shades  should  be  avoided  in  dark  rooms. 

'Fhe  second  suggestion  combines  yellow  and  green,  yellow  in  the  ceiling,  green 
in  the  side  wall.  In  a  well  lighted  hall  green  is  very  satisfactory,  but  here  as  else¬ 
where  in  a  house  the  color  schemes  of  the  surrounding  rooms  must  be  taken  into  con- 
sideration.  No  room  can  be  decorated  and  furnished  independently  of  the  others, 
else  discord  will  result 

Oriental  rugs  with  a  soft  blending  of  color  are  advised  with  either  scheme. 

PLATE  No.  io,  KITCHEN. 

Suggestion  No.  i,  as  in  illustration:  walls,  cream  (No.  305);  ceiling,  old  ivory 
(No.  325);  trim,  white;  tiles,  white;  linoleum,  blue  and  white;  rugs,  blue  and  white; 
china,  blue  and  white. 

Suggestion  No  2:  walls,  white  or  cream  (No.  305);  ceiling,  white  or  cream 
(No.  305);  trim,  old  blue  (No.  336);  tiles,  white;  linoleum,  blue  and  white,  etc. 

In  the  kitchen  we  have  suggested  blue  and  white  for  both  schemes  with  a  slight 
variation  in  the  treatment.  In  the  first  scheme  we  have  advised  white  woodwork, 
white  tiles,  blue  and  white  linoleum,  cream  walls  and  a  lighter  ceiling.  Blue  wood- 
work  forms  the  basis  ol  the  second  scheme  with  white  tiles,  walls  and  ceiling,  and  blue 
and  white  rugs  and  linoleum. 

Blue  and  white  are  always  satisfactory  in  a  kitchen,  forming  a  particularly  clean 
and  inviting  scheme,  also  making  a  most  effective  background  for  kitchen  utensils 
which  are  now  ornamental  as  well  as  useful. 


PLATE  VIII.  BEDROOM 


HOW  TO  GET  THE  MOST  OUT  OF  PAINT. 


The  desirability  ol  painted  walls  and  woodwork,  from  the  standpoint  both  of  beauty 
and  utility,  has  already  been  briefly  touched  upon.  Paint  is  sanitary  above  all  other 
wall  coverings;  it  is  economical  because  of  its  durability;  and,  if  white  lead  is  used, 
every  gradation  of  tint  and  shade  is  available,  which  is  not  the  case  in  a  prepared  wall 
covering.  In  the  latter  case  one  is  limited  to  the  colors  supplied  by  the  manufacturer. 
In  the  case  of  white  lead  paint,  the  painter  makes  to  your  order  any  tint  you  desire. 

But  in  painting  as  in  everything  else,  there  is  a  right  and  a  wrong  thing  to  use 
and  a  right  and  a  wrong  way  to  use  it. 

White  lead  and  linseed  oil  are  the  standard  paint  materials  and  have  been  so  for 
generations.  Paint  made  from  these  two  materials  has  the  advantage  of  giving  the 
most  beautiful  effects  and  ol  making  at  the  same  time  the  most  durable  protecting 
film. 

For  interior  decoration,  the  beautiful  soft  white  peculiar  to  white  lead  is  especially 
valuable.  Every  woman  appreciates  it  who  has  noticed  the  effect  of  glaring,  bluish 
white  walls  and  ceilings  on  gowns  and  complexions,  particularly  at  night  under  artificial 
light.  And  this  characteristic  softness  of  white  lead  is  carried  into  the  infinite  tints 
and  shades  made  with  it;  for  most  tints,  especially  the  more  delicate  ones,  require 
such  a  tiny  bit  of  coloring  matter  that  the  texture  and  peculiarities  of  the  white  lead 
remain  dominant. 

Pure  white  lead  paint  is  uniform, clear  and  smooth  in  color  and  finish.  It  does  not 
streak  nor  mottle  as  composite  paints  often  do. 

For  durability  it  is  in  a  class  by  itself.  It  does  not  crack  nor  scale  but  wears 
down  smoothly,  leaving  a  perfect  surface  for  repainting. 


PLATE  IX.  HALL 


The  best  surety  of  getting'  pure  white  lead  is  the  guaranty  of  a  responsible  man¬ 
ufacturer.  We  guarantee  all  our  white  lead  to  be  perfectly  pure  and  of  the  highest 
quality.  As  a  pledge  of  this  iact  and  as  an  easy  method  of  recognizing  the  genuine, 
we  place  the  Dutch  Boy  Painter  trademark  on  the  side  of  every  keg  containing  our 
white  lead.  We  back  this  guaranty  to  the  utmost  and  furnish  every  facility  for  testing 
and  proving  our  claims. 

When  you  have  decided  to  have  your  painting  done  with  this  guaranteed  mate¬ 
rial,  see  that  you  get  it.  Have  the  materials  brought  to  your  premises  separately  and 
mixed  there.  If  the  paint  is  brought  to  the  job  ready  to  put  on  you  cannot  tell  any¬ 
thing  about  it.  It  may  not  be  pure  white  lead  and  linseed  oil;  it  may  not  have  been 
prepared  for  your  particular  job  at  all ;  it  may  have  been  mixed  for  some  other  job 
or  for  no  particular  job  (the  ready-prepared  kind)  and  may  have  been  standing  and 
deteriorating  for  weeks  or  months. 

Paint  to  be  right  must  not  only  be  pure  unadulterated  white  lead  and  pure  linseed 
oil,  but  should  be  mixed  fresh  only  a  short  time  before  using.  Moreover,  and  most 
important,  the  ingredients  should  be  carefully  apportioned  according  to  the  particular 
surface  it  is  designed  to  cover. 

Different  surfaces  require  different  treatment.  Soft  woods  drink  in  paint  easily  ; 
it  has  to  be  forced  into  hard  woods.  Some  turpentine  is  needed,  and  less  oil,  in  the  latter 
case.  Old  wood  requires  different  treatment  from  new  unpainted  wood,  and  brick 
needs  different  paint  from  either.  Variations  in  temperature  also  call  for  variations  in 
paint.  These  are  only  a  few  of  the  differing  conditions  which  a  painter  meets,  and  the 
skilled  workman  never  thinks  of  mixing  his  paint  until  he  has  examined  the  surface  to 
be  painted. 


23 


PLATE  X.  KITCHEN 


While  woodwork  and  plaster  walls  should  be  painted  throughout  with  white  lead 
and  linseed  oil  as  described,  iron  work,  such  as  heaters,  pipes,  registers,  etc.,  should  be 
painted  first  with  our  red  lead  mixed  with  linseed  oil,  and  then  finished  with  white  lead 
and  oil  tinted  to  suit  the  color  scheme  of  the  room. 

Be  careful  not  to  allow  any  painting  of  any  kind  over  a  damp  surface.  Plastered 
walls  should  be  allowed  to  dry  out  thoroughly  before  painting  or  the  paint  will  be 
sure  to  peel. 

We  furnish  complete  specifications  for  painting  both  interior  and  exterior  work  — 
wood,  brick,  plaster,  concrete,  and  metals  —  on  request. 


NO.  333  GOBELIN  BLUE  No.  338  LIGHT  FLEMISH  NO  341  LIGHT  BLUE 


NO.  303  PEARL  GRAY  NO  305  CREAM  NO  301  LIGHT  GRAY 


NO  328  PALE  YELLOW  NO.  325.  OLD  IVORY  NO  331.  IVORY 


AVERY  LIBRARY 

£OLU,W!IA  UNIVERSITY) 


